Rob Pollard v Woods: "We make money on the road and that’s just the way it is now"

A man, a band, a record label. Rob Pollard talks to Woods' Jeremy Earl.

Woods, Brooklyn’s finest lo-fi folk-rock act, are one of the busiest and hardworking bands around. Jeremy Earl, the singer and guitarist, not only writes and records Woods records, but also runs the Woodsist label, releasing work from a disparate set of artists, and curates an annual Californian music festival. Rather than relying on an increasingly out-dated and unfair music industry, Woods have taken care of themselves, carving out a career and back-catalogue to be admired.

Since their formation in 2005, Woods have released seven studio albums, with their last one, Bend Beyond, catapulting them to new heights. Earl’s vocal is distinctive, setting Woods apart from their contemporaries. 

They recently played Primavera Sound, a festival in Barcelona that carefully puts together a stella line-up refusing to cater for the masses, instead focussing on a particular niche. The New Statesman spoke to Earl, the catalyst behind all things Woods, about the direction of the music industry and the future for his band. 

I saw your performance recently at Primavera and it was wonderful - the weather was beautiful and there was a brilliant atmosphere. How did you find it? 

Primavera was great; it was a really good experience. It’s just a beautiful place to play and Spain in general is a wonderful country to go to, and they treat the artists really well there. The crowd are really welcoming and excited about what you’re doing, so it’s fun. 

I think Primavera is a really important music festival. The line up caters for a particular kind of listener that can often be ignored.

To me, it’s really refreshing. I think it’s very varied - there’s all sorts of stuff, so I think we fit in that way, adding to the eclectic feel of the fest. 

Who else did you see whilst you were there?

We saw a couple of the other acts. We saw Kurt Vile, who’s a friend of ours. It’s always good to see a friend play in front of thousands of people.

He was fantastic, wasn’t he?

Yeah, he was really good! We also saw a bit of Animal Collective.

It’s interesting that you run your own record label which is where all Woods’ material is released from, as well as many other acts. What benefits does having your own label bring?

It definitely gives you more creative control. You just completely skip that label step because you are the label, so there’s really no answering to anybody, you can basically do whatever you want. You can take as much time, or as little time. It’s been our way for a while and it’s worked out. The band and the label have grown together, and we’re still able to do it, so it’s going okay for now. 

Do you have to be really business-minded to run your own label, or was it something you just fell into?

Just completely fell into it, and then over the years just picked up on different things of the business aspect of it. There’s still a lot I’m sure I’m doing wrong, but it seems to work for us right now. But, no, I don’t come from a business background or anything, I come from an art background, I’m just an artist and that’s what I do, so I’m kinda just winging it, and it’s working. 

You’ve released material from some great artists, like Kurt Vile, Real Estate and Crystal Stilts. Are those all acts that you rate particularly highly?

Yeah, it was a great experience to work with those guys early on, and it’s great to see bands move on to bigger things, and none of us knew where those three bands would be. Like, Real Estate are way beyond the capacity of what my label could actually do for them because it’s just me sitting in my house. But now they have a team and it’s working really well for them. 

Is there any new Woods material in the pipeline?

We’re in the studio right now, actually. We’ve been recording and we’re going back in next week, and then we’re doing some more touring. We’ll be back over in the UK in August and then we’re planning to record more after that trip, so right now I’d say we’re a little more than halfway done recording the record. We’re thinking we’ll have something new out in early spring. 

What’s your favourite Woods record so far?

So far, I’d say the newest one, Bend Beyond, but the experience of recording this past week has gotten me super excited, so I can definitely say this new record is gonna be by far our best and my favourite. 

What about your influences then. Who’s your all-time favourite artist?

That’s a hard one. I love The Rolling Stones, and George Harrison. Neil Young, of course, and The Grateful Dead. They’re all bands I will never get sick of and could listen to every single day. 

You can hear Neil Young’s influence in your work. He played a few UK dates recently, including a big night at the O2 Arena. How do you feel about him still touring because some people feel these things are often better left alone rather than stretching them out into the later years of life?

I’m all for it, why not. I hope that when I’m older I can be doing it, it sounds wonderful! I saw Neil on his last tour in the States when they came to New York and it was great - it sounded amazing. I guess on the other side of the spectrum you have The Rolling Stones. I haven’t seen them, but maybe their bodies aren’t quite able to do it anymore but they still seem to do it. 

I’m all for it as long as you can do it physically. Neil’s playing is still amazing, and his voice sounds perfect, so once things like the voice go, and you can’t get the right notes, then I would say maybe think about giving it a rest.

How difficult is it for musicians outside the mainstream to make money from music these days? I often ask bands about Spotify, in particular, because it seems these newer platforms aren’t very fair to artists, with a lot of the money now pushed away from the bands.

Yeah, for something like Spotify it’s basically non-existent for us - it’s a fraction of a cent. For the number of plays we’re actually getting, I don’t think it amounts to anything, really, but we’ll make more money on the road and that’s just the way it is now. The records sell well - no complaints there - but the real way we make any kind of money is whenever we go on any kind of extended tour. 

How do you think artists can wrestle back some of the power?

A lot of people just starting to do everything themselves: being the record label, recording your own records - these things eliminate a step and save money. If you can’t do it just as well then don’t compromise, but if you can do it as well a big record label or fancy recording studio you might as well do it. 

So taking control of your own destiny?

Absolutely, and I feel a lot of bands are starting to do that. They’re getting out of their record contracts and saying ‘we’re gonna release this record on our own’, and then they strike up some kind of distribution deal with someone, and then that’s it. It depends on the band but it makes sense. 

There was a lot of energy and excitement during your Primavera set and it looked like the band were really enjoying themselves. Is touring the best part of being in Woods?

I kinda like recording, especially this next record because it’s a different style for us, in a proper studio. It’s been a really enlightening experience, and great just to try something new. I’ll always love playing live but there’s something about the studio that’s really exciting. 

Do you notice a difference between the audience at your US gigs to those here in the UK?

I think there is a difference. I feel like in the UK and Europe - I don’t know if it’s because we don’t come over as much - there’s always more excitement and energy. It’s different than in the US. We don’t play a ton in the US but we play enough where we’re hitting cities maybe a couple of times a year, and it’s always good but there is a general excitement that feels good for us in the UK. 

I remember seeing Woods at the Deaf Institute in Manchester and everyone really enjoyed that night.

Yeah, I remember, I love that place. That was our more stripped down, acoustic tour, whereas now it’s more of a full rock band, so it’s a much different sound now. 

As well as your label, you also organise your own festival, don’t you?

Yeah, usually once a year in California. I love it. I get it a lot of help from this guy at folkYEAH, a California show promoter, and he takes care of that end of stuff. I curate and deal with the artists. It’s great, and Big Sur is the place where everything comes together and it’s always a magical couple of days. It’s such a beautiful environment, and we look forward to doing it every year. 

There's more about Woods on their site and on Twitter.

Rob Pollard is a freelance writer. You can follow him on Twitter @_robpollard

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For the first time in my life I have a sworn enemy – and I don’t even know her name

The cyclist, though, was enraged. “THAT’S CLEVER, ISN’T IT?” she yelled. “WALKING IN THE ROAD!”

Last month, I made an enemy. I do not say this lightly, and I certainly don’t say it with pride, as a more aggressive male might. Throughout my life I have avoided confrontation with a scrupulousness that an unkind observer would call out-and-out cowardice. A waiter could bring the wrong order, cold and crawling with maggots, and in response to “How is everything?” I’d still manage a grin and a “lovely, thanks”.

On the Underground, I’m so wary of being a bad citizen that I often give up my seat to people who aren’t pregnant, aren’t significantly older than me, and in some cases are far better equipped to stand than I am. If there’s one thing I am not, it’s any sort of provocateur. And yet now this: a feud.

And I don’t even know my enemy’s name.

She was on a bike when I accidentally entered her life. I was pushing a buggy and I wandered – rashly, in her view – into her path. There’s little doubt that I was to blame: walking on the road while in charge of a minor is not something encouraged by the Highway Code. In my defence, it was a quiet, suburban street; the cyclist was the only vehicle of any kind; and I was half a street’s length away from physically colliding with her. It was the misjudgment of a sleep-deprived parent rather than an act of malice.

The cyclist, though, was enraged. “THAT’S CLEVER, ISN’T IT?” she yelled. “WALKING IN THE ROAD!”

I was stung by what someone on The Apprentice might refer to as her negative feedback, and walked on with a redoubled sense of the parental inadequacy that is my default state even at the best of times.

A sad little incident, but a one-off, you would think. Only a week later, though, I was walking in a different part of town, this time without the toddler and engrossed in my phone. Again, I accept my culpability in crossing the road without paying due attention; again, I have to point out that it was only a “close shave” in the sense that meteorites are sometimes reported to have “narrowly missed crashing into the Earth” by 50,000 miles. It might have merited, at worst, a reproving ting of the bell. Instead came a familiar voice. “IT’S YOU AGAIN!” she yelled, wrathfully.

This time the shock brought a retort out of me, probably the harshest thing I have ever shouted at a stranger: “WHY ARE YOU SO UNPLEASANT?”

None of this is X-rated stuff, but it adds up to what I can only call a vendetta – something I never expected to pick up on the way to Waitrose. So I am writing this, as much as anything, in the spirit of rapprochement. I really believe that our third meeting, whenever it comes, can be a much happier affair. People can change. Who knows: maybe I’ll even be walking on the pavement

Mark Watson is a stand-up comedian and novelist. His most recent book, Crap at the Environment, follows his own efforts to halve his carbon footprint over one year.

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood